Fabienne, a young woman in her thirties, returns to her mother's house after four years in prison. Between a past that has become impossible and an uncertain future, her meeting with André precipitates her towards a decision.

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A man fights against drug dealers around his neighborhood.

The action takes place in Paris in 1959, with a flashback. A teenager in search of a mother he has never known enters manhood and discovers love.

Chronogram is a photomontage that explores stillness, motion, and memory. Using a 35mm still camera, multiple exposures were composed and edited in-camera, creating frameless sequences of images printed on 35mm filmstrips. When projected, these images become a non-linear, non-synchronized collage. The ephemeral quality of the images - their transparency, layering, and repetition - invites us to reflect on the role memory plays in perception, the ways we mentally reconfigure fragments to construct stability and meaning in an environment of perpetual flux.

Jean-Pierre Bacri was never happy about anything. But beyond the caricature of the grumpy man, from his apprenticeship years to his death in January 2021, this film tells the story of this quintessential Frenchman: a man turned towards others, an actor by accident, a moralist by vocation, who was left unaffected by flattery and false honors by success, and ready for all kinds of anger when it was necessary to speak out against injustice and stupidity. The film tells the story of how Jean-Pierre Bacri's life changed several times: from Algeria to France when he was eleven years old in 1962; from bank clerk to apprentice theater actor; from Pieds-noirs film star to screenwriter for Alain Resnais; and from Cannes playboy to Agnès Jaoui's mad lover, the most decisive encounter for his life as well as for his work

Eric Renard is a drug addict torn between drugs and his dream of becoming a writer. After a failed robbery, he is sent to a rehabilitation center for delinquents in the countryside where he meets Kamel who will help him get off drugs.

“Describe a lost film by Lionel Soukaz; it was called La Vérité nue. And to do so, evoke the figure of the filmmaker, who passed away this year.” 　　Made after Soukaz’s death, this film, almost without images, is an elegy and a testimony. In it, Xavier Baert meditates on Soukaz’s cinema, on their relationship, and on the survival capacity of images: how to describe what has been lost.